Wednesday, October 26, 2016

Proposal # 1 The Syeus Mottel Photographic Archive; Mock Book Preparation & Creation


The Syeus Mottel Photographic Archive; Mock Book  Preparation & Creation


abstract,   Research, catalog, tag/itemize photographic archive of Syeus Mottel, for preparation of mock book. The main focus of the photographic archive is ‘socio-cultural documentation of the years between 1965-1981. The majority of the photography is from New York City, but also included are photographs of California, Rome, Paris, and more. Review of the archive is needed. So far, there is no tangible index of what is contained in the archive, besides the scanned manilla cover envelopes in which the contact sheets/negatives were located. Once the work can be entered into a searchable data system, critical evaluation can commence.


introduction,

The Syeus Mottel photography archive is a socio-cultural document of the years 1965-1981. This historical record of noted cultural & political events enables the viewer of the work to gain a new perspectives in an otherwise oversaturated marketplace of ‘vintage photography’. This work for the most part will be viewed by an audience for the first time. Limited professional publication of Syeus Mottel’s photography was released into the public domain during Mottel’s lifetime.  Syeus Mottel preserved his photographic archive in its original manilla envelopes, with date/subject matter notated by hand-writing on each cover. Over 500 envelopes with contact sheets and negatives were stored in Syeus Mottel’s apartment. Upon Syeus Mottel’s death in January 2014, Matthew Mottel has been responsible for the archive.  Matthew Mottel has initiated a first digitization, whereas the cover’s of the manilla envelopes and contact sheets have been scanned and organized onto a hard drive. This hard drive has over 500 folders that need to be reviewed, and properly indexed into a searchable database. Once this is done,  a determination of the multitude of subjects with the archive can be annotated, and decisions regarding importance in relationship to contemporary aesthetics and interests can be made. At this point, 60-100 images can be selected to make a mock-book which would be the first major survey of Syeus Mottel’s work to date.  


background,

Syeus Mottel (1930-2014), was a published photographer, notable for his documentation of Lee Strasberg and the Actors Studio and Buckminster Fuller. In 1973, he published a photojournalistic book entitled ‘Charas, The Improbable Dome Builders’, documenting the attempt to build geodesic domes on the Lower East Side on Manhattan. He also appears as the credited photographer in William Greaves Symbiopsychotaxiplasm. In 1965, Lee Strasberg of the Actor's Studio granted him exclusive permission to photograph at the Actor's Studio. This resulted in a ten year photographic archive of the Studio from 1965-1975. His photographic mentor was Bruce Davidson of Magnum Photography.  He then became Media Consultant to R. Buckminster Fuller, with his media documentation of Fuller's activities widely published. When asked what his photographic method was, Mottel replied 'I was looking to make a diary."



work plan ,
The first step to view the archive in a stronger light is to create a database of what the content of all the envelopes contain. This will be a labor intensive, data entry process using a professional photo indexing software (tbd).  One goal of the indexing process will be to tag photos using metadata to create searchable indexes ; eg ‘anti war photography’ ‘children’ , ‘civil rights’, ‘modern art’ etc. Once this step is completed, review of the work will determine the strength of the subject matter and an evaluation as to what focus on for a first publication can happen. Then photos that fit the subject matter can be cropped from the contact sheets that have been digitized and a mock book, both digitally and physically can be created.


Significance

I am acting both as curator, editor, representative and dutiful son in this endeavor. It is my goal to have my father’s work exist within curatorial photographic history of the mid 20th century. Seminal cultural and political figures in Syeus Mottel’s archive include Martin Luther King, Alan Ginsberg, John Cage, Ornette Coleman, Stokely Carmichael, MoonDog, Paul Jenkins, Robert Rauschenberg, Vito Acconci, Charlotte Moorman, Ken Dewey, Buckminster Fuller, Lee Strasberg, Miles Davis etc. Almost all of the photographs within the archive are street style photography, with very few posed & stylized photographs. Selections from this archive as a mock book will allow for a wider audience to view his work for the first time.














WORK PLAN


Week 8 - Start to itemize and catalog archive, research which software is best to use.

Week 9 - Continued work to itemize archive.

Week 10 - Database itemization, organizing completed.

Week 11 - Evaluation of materials, determination of what subjects will be focused on in book presentation.

Week 12 - Start formating digital/physical mock book.
Week 13 - Editing of photographs, reducing number of selected photos, continued work on format for digital/physical edition of mock book.


Week 14 - Completion of digital and physical mock book. Estimated number of photographs included is 60-100.

Tuesday, October 18, 2016

MID TERM PROJECT BLOG

Week 1 : 
Original Format of Proposal, Images in Vertical Rows, no editing of photography, text proposal

Week 2:

Modified Proposal and Subject, in this iteration, Coca-Cola is transformed to Broca-Brola, photoshop used to transform photography of trucks from coca-cola to broca -brola,


Week 3: 
Proposal reverts back to Coca-Cola format, forgoing transformation. Photos are arrayed left to right, in film like sequence.

Week 4: 
Continued effort in current direction, additional photoshop composite images are created,


Week 5 : Mock of POV perspective out of windshield  is created with cardboard, color inkjet print of photos with plastic shower curtain heat gun melted on top. 
Attempt to print transparencies; 11 images left to right on 8x11 transparency
1 image per 8x11 transparency








Week 6: Unsatisfied with mock attempts, and poor print quality from transparency. Final project incorporates 4x6 prints arrayed on 3 fixed screens. Automotive panel glass is used as screen with front light to illuminate photos which are attached from behind the glass. (ed- these photographs are not professionally shot, will update blog with pro shots when available).




Proposal # 6  B2210



• Project Title :   POINT OF VIEW via FIXED SCREEN IMAGE: 
The Coca-Cola Truck in New York City

• Abstract: This photographic installation highlights the Coca-Cola corporation’s visibility in New York City by focusing the viewer on POV photography of Coca-Cola delivery trucks, shot by the artist as he is driving a delivery van in New York City. The Coca-Cola truck is a destructive force to New York City; populating the streets, blocking traffic by double parking, causing congestion, all while distributing an unhealthy product. As the artist makes deliveries by himself, he sees these Coca-Cola trucks as an overwhelming obstacle that needs to be documented.

• Intro your project idea:
This photographic installation highlights Coca-Cola’s visibility in New York City by amplifying the viewer's awareness of Coca-Cola with POV photography of the corporation's delivery trucks, shot by the artist while driving and making deliveries in his own van in New York City.  The documentation of the Coca-Cola truck is important as a public record of a malfeasant company, that clogs the streets and disrupts the artist’s own delivery business. Often the artist is delayed by the Coca-Cola truck blocking traffic. The Coca-Cola truck is so omnipresent in New York City, that for most, it goes unnoticed. The ubiquity and ease of access to Coca-Cola does not happen by chance. It is a deliberate and methodical “campaign” to maximize profit at the expense of the public. The classic economic adage ‘demand creates supply’ is false.  ‘Supply creates demand.’ The scale of Coca-Cola in New York City is rarely thought of, its effects are multiplicitous.  The proposed photographic installation will document my point of view as a delivery driver in New York City. When I encounter Coca-Cola trucks, I will take as many photographs as I can.  These encounters will be by chance and unplanned, so the photographs will be shot without deliberate composition and focus. The photos will then be transferred digitally to the computer, edited in photoshop to create a sequence that captures the movement of the photographer driving while simultaneously taking the photos during his delivery route. The photos are then printed as 4x6inch prints.  A series of 5 encounters will be documented by connecting multiple photographs to form the composition. The middle screen will have 3 arrays of 5 photos each with all photos shot in the direction they are viewed. The left and right screens documents 15 shots each taken from the driver’s POV when he was looking and shooting from side to side. They will be arranged in sequential shot order from left to right, akin to a film strip. The photographs will be placed on automotive windshield glass to relate to the original POV of how the photographs were shot. The photographs were shot over 8 weeks. Each set of photographs will be taken in a Tuesday/Friday delivery cycle in which the artist usually encountered the Coca-Cola truck.

• Background:
This work affirms my inclination to use art to propose an alternative to the political, cultural, economic or social status quo. The harm caused by Coca-Cola affects all communities. Coca-Cola is a bad actor; from health concerns, to traffic, pollution, poor labor practices. For example, Coca Cola has destroyed the groundwater supply in India near its Coca-Cola plant, destabilizing farming communities.

This project also challenges the Pop Art depiction of Andy Warhol’s iconic ‘Coca-Cola’ image. His glamorization of that product enabled Coca-Cola to become ‘hip’ and gain cultural traction.
All the cokes are the same and all the cokes are good.” -Andy Warhol
Warhol was not critiquing Coca-Cola, but adding a layer of value to an image that was already dominant in global culture. His concretization of Coca-Cola acted as an additional advertisement for the product.  This project also draws upon John Cage’s use of ‘chance operations’ since I never know when I will see the next Coca-Cola truck while driving, and when I do that is my cue to photograph. The influence of Cage is based on his appreciation of natural, unplanned organization. Warhol staged events, copied/appropriated images and was dealing with hierarchical organization; and the idea of the artist as tastemaker.  These photographs will capture ephemeral moments and reflect the density of New York City and how these trucks hover over the landscape, taking up valuable space in the city-scap. The photos are shot only when the Coca-Cola trucks appear.

Rick Klotz is an artist who has transformed the logo of ‘Tide Detergent’ into ‘Freshjive’ for a t-shirt line. His art uses appropriation to show that he is not interested in making any political statement, or challenging corporate norms. In his own words ‘it's bullshit’  He is following Warhol’s non-critique and is part of the status quo. This is a cop-out that I do not support and his work is in opposition to my own.

This project is also influenced by the ‘political pop’ photographer, Chinese artist Wang Guangyi. Guangyi takes iconic political images of Communist China and adds western pop cultural corporate logos. His work is about juxtaposition in society, while the ‘political pop’ of the Coca-Cola trucks suggests a rejection [of what?] and highlights the dominance of Coca-Cola. Guangyi challenges the status quo in his work, in a way similar to Cage, and in opposition to Warhol and Klotz.

• Work plan:
Photographs of Coca-Cola trucks will be captured from the point of view of the van driver (me) when driving around New York City. I am in the van, driving, focusing on getting to the next delivery point, and often have to make deviations in the route based on a Coca-Cola truck blocking my path. This is my moment to shoot. Photographs will be shot in rapid succession, both from fixed position (while stopped) and while driving (to document movement). These photographs imported to Photoshop where the photos from each encounter will be sequenced into a composite image and then printed. The reference for the composite image is a like a film strip, where one can see images frame by frame and the photographer’s POV by viewing the group of shots as one image. The size of resulting composited photographs will be made of 4x6inch prints.  Photographs are installed on automotive windshield glass with front lighting.

• Significance of your project; what do you want to accomplish?

I would like to use this project as part of an argument for a city wide initiative that calls for the banning of Coca-Cola in New York City.


• References or sources




Tuesday, October 4, 2016

Revision 4












Proposal # 4  B2210




• Project Title :   POINT OF VIEW:  Surrounded by Coca-Cola Trucks in New York City

• Abstract: This photographic installation highlights the Coca-Cola corporation’s visibility in New York City by overwhelming the viewer with POV photography of their delivery trucks, shot by the artist as he is to driving a delivery van in New York City. The Coca-Cola truck is a hindrance to New York City; populating the streets, blocking traffic by double parking, causing congestion, all while distributing an unhealthy product. As the artist makes deliveries by himself, he sees these Coca-Cola trucks as an overwhelming obstacle that needs to be documented.

• Intro your project idea: ‘
This photographic installation highlights the corporation’s visibility in New York City by inundating the viewer with POV photography of the corporation's delivery trucks, shot by the artist while driving and making deliveries in their own van in New York City.  The documentation of the Coca-Cola truck is important as a public record of a malfeasant company, clogging the streets and disrupting the artist’s own delivery business. The Coca-Cola truck is so omnipresent in New York City, that for most, it goes unnoticed. The ubiquity and ease of access to Coca-Cola does not happen by chance. It is a deliberate and methodical “campaign” to maximize profit at the expense of everyone else. The classic economic adage ‘demand creates supply’ is false.  ‘Supply creates demand.’ The scale of Coca-Cola in New York City is rarely thought of, its effects are multiplicitous.  The photographic installation will document my point of view as a delivery driver in New York City. When I encounter Coca-Cola trucks, I will take as many photographs as possible.  These encounters will be by chance and unplanned, so the photographs will be shot without deliberate composition and focus. [The photos will then be transferred digitally. They will be arranged in sequential shot order from left to right, akin to a film strip. The work will be presented as mural sized photographs.  A series of 16 encounters will be documented by connecting multiple photographs to form single prints of each encounter. The photographs were shot over 8 weeks. Each set of photographs comes from this period of tuesday/friday delivery cycle where the artist always encountered the Coca-Cola truck.

• Background:
This work affirms my inclination to use art to propose an alternative to the political, cultural, economic or social status quo. The harm caused by Coca-Cola affects all communities. Coca-Cola is a bad actor; from health concerns, to traffic, pollution, poor labor practices. For example, Coca Cola has destroyed the groundwater supply in India near its Coca-Cola plant, destabilizing farming communities.

This project also challenges the Pop Art depiction of Andy Warhol’s iconic ‘Coca-Cola’ image. His glamorization of that product enabled Coca-Cola to become ‘hip’ and gain cultural traction.
All the cokes are the same and all the cokes are good.” -Andy Warhol
Warhol was not critiquing Coca-Cola, but adding a layer of value to an image that was already dominant in global culture. His concretization of Coca-Cola acted as an additional advertisement for the product.  This project also draws upon John Cage’s use of ‘chance operations’ since I never know when I will see the next Coca-Cola truck while driving, and when I do that is my cue to photograph. The influence of Cage is based on his appreciation of natural, unplanned organization. Warhol staged events, copied/appropriated images and was dealing with hierarchical organization; artist as tastemaker.  These photographs act as an ephemeral visual composition, as they are shot only when the Coca-Cola trucks appear. Rick Klotz is an artist who has transformed the logo of ‘Tide Detergent’ into ‘Freshjive’ for a t-shirt line. His art follows a path of appropriation that is is not interested in any political statement, or challenging corporate norms. In his own words ‘its bullshit’  He is following Warhol’s non-critique and is part of the status quo. This is a cop-out that I do not support.

This project is also influenced by the ‘political pop’ photographer, Chinese artist Wang Guangyi. Guangyi takes iconic political images of Communist China and adds western pop cultural corporate logos. His work is about juxtaposition in society, while the ‘political pop’ of the Coca-Cola trucks suggests a rejection and highlights the dominance of Coca-Cola. Guangyi challenges the status quo in his work, in a way similar to Cage, an in opposition to Warhol and Klotz.


• Work plan:
Photographs of Coca-Cola trucks will be captured from the point of view of the van driver (me) when driving around New York City. I am in the van, driving, focusing on getting to the next delivery point, and often have to make deviations in the route based on a Coca-Cola truck blocking my path. This is my moment to shoot. Photographs are shot in rapid succession, both from fixed position (while stopped) and while driving (to document movement). These photographs imported to Photoshop where the photos from each encounter will become a composite image and then printed. The reference for the composite image is  a film strip, where one can see images frame by frame and the artists POV by viewing the group of shots as one image. The size of resulting composited photography  will be at least 24x30 horizontal.  Photos will either be installed on the wall or on a made material where the viewer is surrounded by the photography in an enclosed environment.


• Significance of your project; what do you want to accomplish?

I would like to use this project as part of an argument for a city wide initiative that calls for the banning of Coca-Cola in New York City.



• References or sources